Survival Through Revival with Darone Sassounian


The Armenian Diaspora has been present for over 1,500 years. Armenians have helped build communities in their respective host countries, while preserving their culture outside of their borders. In return, they have welcomed other cultures within their homes, cuisine, and all walks of life.

Although the Armenian Diaspora has existed for almost two millenniums, we’ll be directing our attention towards the population and the music scene of the 20th century, which was formed after World War I as a direct result of the Armenian Genocide. Large-scale and systematic massacres took place against Armenians in their ancient homeland, which, at the time, was under the control of the Ottoman Empire. The Young Turks, a new Turkish ultra- nationalist party that took control of the Ottoman Empire, put into play the beginning of what they thought was the final solution to the Armenian "problem." Over a million and a half Armenians were exterminated through starvation, death marches, and concentration camps set throughout the Armenian Highlands and the Syrian Desert. This genocide began in 1915 and ended in the early 1920s, after the Armenians in Eastern Armenia (present-day Armenia) collectively fought off the final wave of Turkish forces, which were set on killing every single man, woman, and child. During the final days of the Armenian Genocide, the First Republic of Armenia was established. However, the dream of a free and independent republic did not last long, as a ravaged nation became the newest addition to the region’s Sovietization.

Although the genocide did not officially begin until 1915, anti-Armenian sentiments and massacres had been occurring since the late 19th century at the hands of the Ottoman Turkish government. With the inclusion of the statewide massacres from the 1890s all the way through the early 1920s, including the Armenian Genocide, nearly 2 million Armenians fell victim to the Ottoman Turks. Many historians claim that roughly 2 million Armenians lived in Western Armenia (Modern-day Eastern Turkey) and that roughly 300,000 had survived the Armenian Genocide. This compilation will tell a fraction of the story of the direct descendants of these tragedies.

The survivors of the Armenian Genocide settled in countries such as Syria, Lebanon, France, Russia, Greece, Iran, Iraq, Ehtiopia, Sudan, India, Australia, the United Kingdom, Brazil, Canada, and the United States. Survivors who stayed in the First Republic of Armenia lived through the Sovietization of the country. Fast-forward a few decades and you’ll come to find that Armenians in the Diaspora have been thriving. They’ve built schools, churches, community centers, restaurants, and much more. There are professionals of all sorts, businessmen and businesswomen of all trades, painters, sculptors, actors and actresses. However, the wounds of the genocide were still open within Armenian music up until the late 1960s and early 1970s.

Folk bands are being formed, soul groups are emerging, and Estradayin singers (the Armenian genre equivalent to French Chanson) are gracing their respective stages. The Armenian Diaspora is at the cusp of two worlds; the Western world that revolves in the countries they’ve settled in and the Eastern world that they come from. There’s a harmony of cultures, cuisine, fashion, and music. This unification between worlds is where the musicians in the Armenian Diaspora began to make their mark. A lot of stars were introduced and praised, but there were many artists who didn’t receive the attention they deserved.

Between the 1970s and 1980s, another crisis hit the Armenian Diaspora. This time, it occurred in the Middle East. A vicious civil war erupted in Lebanon in 1975 and lasted until the early 1990’s. While the war was mainly between all sorts of different factions, the Armenians were preparing for the worst in their neighborhoods. Mainly concentrated northeast of Beirut, the Armenians of Bourj Hammoud, a small, yet tight- knit town secured the perimeter of their community. They protected their kin as the Lebanese Civil War threatened the existence of Beirut’s Armenian community. Many young Armenians took arms to defend it from opposing forces, which wanted to control Bourj Hammoud and possibly rid all of its inhabitants.

Although the war took a heavy toll on Lebanon, the Armenian community of Bourj Hammoud picked itself up, but slowly began to depopulate, as civilians began to emigrate to North and South America, Australia and Europe. Despite the turmoil, record labels, such as Voice of Stars, released music and held concerts in Bourj Hammoud. The music spread throughout the Armenian communities in the Diaspora and within the Lebanese artistic communities. Artists such as Adiss Harmandian, Ara Kekedjian, Vatche Yeramian, and Marten Yorgantz were labeled as “pop stars”. They each had a unique approach to their work, combining the western sounds of disco and soul with Armenian folk elements, paving the way for a rising Armenian music scene in the Diaspora. Other musicians such as Ihsan Al-Munzer, Fairuz, Ziad Rahbani, and the other Rahbani Brothers, frequently collaborated with Armenian producers from Beirut. Daniel Der Sahakian, Jacques Kodjian, and Khatchik Mardirian are the most notable producers and arrangers from Lebanon of Armenian descent. Daniel Der Sahakian still resides in Bourj Hammoud and operates Voice of Stars until this day. Jacques Kodjian left for the United States during the Lebanese Civil War. He worked with Adiss Harmandian in Los Angeles and operated with other Armenian groups in New York City. Khatchik Mardirian produced well sought-after records with Ziad Rahbani on their record label, Zida. Unfortunately, Mardirian passed away in 2013, however, his son Diran runs Chico Records in Beirut, which was once Khatchik’s store. As the war progressed, the production of music in Lebanon continued as well. An enormous catalog of music can be dug up from the time period of the war.

In Bourj Hammoud, producers and artists were constantly recording in the midst of bombs dropping in their streets and on their roofs. Armed volunteers would secure the perimeter of the small Armenian inhabited town, but there were unfortunate occurrences that would take place from time to time. Besides these instances, the people of Bourj Hammoud tried to continue their lives as normally as they could. As for the musicians, their main career objective was to uphold consistent creativity while preserving their identity and surviving the war. One of the best ways to do so was through music and the arts. Artists featured in this compilation such as Ara Kekedjian, Adiss Harmandian, Haro Pourian, Eddy Jeghelian, and Setrag Ovigian, toured the Middle East even during a time of war. The nightclubs and venues in Bourj Hammoud kept their doors open. These establishments were a place of freedom from the lingering threat of disaster and a place where a rich culture could have a live platform.

Eventually, Armenians from Lebanon emigrated to Syria, France, Australia, Canada, and the United States. In France, Armenian artists settled in Paris and Marseille. The most popular Armenian artist in France was the late Charles Aznavour, however, Marten Yorgantz was the center of attention in terms of French-Armenian disco and boogie. He incorporated the sounds of his Armenian heritage with a French touch from the late seventies until the mid eighties. After working closely with Daniel Der Sahakian in Lebanon, Marten Yorgantz produced records with Claude Salmieri, as his engineer and independently released his records in the early 1980s. This proved to be Yorgantz’s rise to prominence in the Armenian discotheques of France. Marten Yorgantz toured and still tours in the United States, Canada, France, and Armenia to this day.

During the 1970s and 1980s, the Armenian community in the United States began to grow as a result of the Lebanese Civil War, Iranian Revolution, and the dwindling Soviet Union. The majority of newcomers settled in Los Angeles County, concentrated in cities such as East Hollywood, Glendale, Pasadena, and Montebello. Before this influx of immigrants, there was a well-established record label called Parseghian Records, located in an area of East Hollywood, presently referred to as ‘Little Armenia’. It was run by the late Kevork Parseghian, who was a hardworking and driven Armenian- American. He had escaped from the Middle East with his family, who were witnesses of civil wars and genocide. Parseghian Records was originally Parseghian Photo; people would take their passport photos there (and still do). It wasn’t until Kevork had customers frequently request that he duplicate their cassette tapes for them, which sparked the idea for Parseghian Records. As Armenians began building communities in the states, Parseghian Records catered the soundtracks to their constructions. The most notable artists who released music through Parseghian were Paul Baghdadlian and Harout Pamboukjian. After settling in the United States, Baghdadlian and Pamboukjian were quickly labeled “The Kings of Armenian Pop”. Parseghian Records opened its doors in 1948 and since then, it has been the largest producer and distributor of Armenian music in the world. One can find Parseghian Records still operating today in Los Angeles by Kevork’s son, Dan Parseghian.

Although Harout Pamboukjian released a couple of his acclaimed albums with Parseghian Records, his first and second studio albums were released with Pe-Ko Records and Arka Records. His first record Oour Eyir Astvats (Where Were You, God?), referring to the tragedy that was The Armenian Genocide, was a huge success. However, it did not resemble most of his catalogue and trademark sound. Not to mention, it was recorded by Pamboukjian and his band at Quad Teck Studio in Los Angeles only two months after moving to the states. Pe-Ko Records, also located in Los Angeles (but originally from Canada), now operates as Hollywood Music Center. The founder, Movses Panossian, was raised in Bourj Hammoud, surrounded by many producers and musicians in the area before and during the Lebanese Civil War. Panossian was influenced by traditional Armenian and folkloric Arabic music, as well western Pop and Soul. Although Panossian took pride in his work as a barber and a tailor, music was his true calling. When he moved to Los Angeles in 1981, he began to sell jewelry just to make ends meet, but he soon started his label out of passion for the music. He focused on releasing Armenian and Arabic music, working with artists who soon became legends. Panossian worked with Harout Pamboukjian. Other notable artists he worked with who reached great heights in their respective scenes were Paul Baghdadlian, Setrak Sarkissian, Hassan Abou El Seoud, and many others. Movses Panossian’s work and contribution to the Armenian and Arabic music scenes are celebrated till this day. His son, Mher Panossian, has continued the family business while working with contemporary artists from Armenia and The Middle East. As previously mentioned, after a couple of weeks of being in the States, Harout Pamboukjian was tirelessly working on his debut album, Our Eyir Astvats. Coincidentally around this time, Pamboukjian’s close friend and musician, Avo Haroutiounian had moved to Los Angeles from Yerevan with a brief stint in Beirut, but ultimately left for Los Angeles due to the Lebanese Civil War. The two reconvened by a stroke of luck on the corner of the Parseghian Records office in 1976. During this encounter, Pamboukjian asked then 19-year-old Haroutiounian to play the violin and assist with the songwriting on his debut album. The album took off and Harout Pamboukjia became an overnight sensation. Two years after his work on Pamboukjian’s debut record, Avo Haroutiounian befriended Kevork Parseghian and began producing his very own album. In January 1979, Haroutiounian released his first and last solo album, Sunrise, via Parseghian Records. Haroutiounian never went on to make more solo records because he didn’t feel comfortable with his vocal abilities. He believed his true talents lied in songwriting and production. Sunrise was ahead of its time in terms of production and songwriting regarding Armenian records. It’s a pity that Haroutiounian didn’t go on to make a second solo album. This didn’t mean that he had stopped making music. After the release of Sunrise, Harout Pamboukjian asked Avo Haroutiounian to produce his records, assist with songwriting, and to play bass on upcoming tours. Haroutiounian went on to produce a handful of Armenian records in the 1980s, but his most notable works have been completed for Pamboukjian. He continues to work with Pamboukjian until this day, well into his 60s. After interviewing him in January 2019, it's safe to say that nothing will stop him from producing and touring with Harout Pamboukjian. He will go down in Armenian music history as one of the hardest working musicians behind the scenes.

Between 1978 and 1979, Iran had gone through an Islamic Revolution, which ultimately overthrew a monarchy that had lasted for the greater part of the 20th century. For centuries, Armenians had lived in cities of Iran, such as Isfahan, Julfa, and Tehran. During the Armenian Genocide, 50,000 Armenians found refuge from The Ottoman Empire in Iran. Although diplomatic and civic relations with Armenia were positively stable in the 20th Century, and continue to be, the Islamic Revolution of 1979 threatened the safety and constricted the liberty of Armenians in Iran, as it did with much of the general population. During the Islamic Revolution, an Armenian composer by the name of Jozeph Sefian, more commonly known as Jozeph, was making records that were ahead of his time. He was born and raised in Aligudarz, Iran in 1943. He was drawn to music from a young age, picking up the guitar and drums as he grew up, but he realized his true passion was to sing and write music. From the late seventies until the mid eighties, Jozeph frequently visited Los Angeles to work with Kevork Parseghian. He released all of his work with Parseghian Records and even befriended the rising pop star, Paul Baghdadlian. He worked with some of the best musicians in Iran at the time such as Andre Arzoumanian, Edward Yarkhoda, and Haykaz Abrahamian. Although his music was released in Los Angeles via Parseghian Records, it’s important to note that he recorded all of his work in Iran during and after the Islamic Revolution. Jozeph and all other artists were not allowed to perform in Iran at the time, however he was granted permission to tour the United States and the United Kingdom. He also performed at a charity concert for those affected by the 1988 Spitak earthquake in Soviet Armenia. Jozeph was allowed to move to the United States in 1997 to join his family. By then, his health began to dwindle and he began to focus more on spending time with his family and friends. Unfortunately, he passed away in the spring of 2006.

The Armenian Diaspora’s adoption of their new homes in the western world did not deter the preservation of their language, culture, and music. Their path reflects the height of the Great Silk Road which connected the Eastern and Western worlds; Armenia serving as one of the primary bridges. After the fall of the Soviet Union and the ‘Iron Curtain’ in 1991, academic and public interests were raised to further excavate the cultures of the former Soviet republics, which Armenia was a part of for seven decades. Armenia was the bridge that connected Europe and Asia, and during the time of the Silk Road, Armenians were introduced to spices, silk, and other commodities that benefitted ordinary people and the country at the time. In return, Armenian merchants introduced new products in their respective markets. As archeological and historical evidence shows, Armenians began to wear clothing made of silk from China, cooked with spices from India, and dined with pottery from Persia. Armenians utilized silk from China and mastered the craft of rug making. Traditional Armenian rugs had appeared in all types of buildings in Armenia, later appearing in homes located as far as Java and Great Britain. The western world was reigning its presence in the eastern world, but interestingly enough it was at this time that the eastern world found comfort in the west. The same can be said about the tracks I have presented in this compilation and in other types of Armenian genres.

The Armenian Diaspora welcomed the music of the west in their homes just as the people of the west welcomed them in their respective countries. From the 1960s until today, Armenian music from The Diaspora has an evident element of the west chiseled into it. From the 1970s to the 1980s, jazz composers in the USSR and pop singers in the Diaspora had combined traditional harmonies with heavy drum breaks, funky bass lines, and impressive keyboard skills. It didn’t matter if the more prominent artists were doing it or if the lesser-known artists had adopted it. The fact of the matter is that these artists were able to express themselves and experiment in ways that, at the time, were viewed as avant-garde to the Armenian public.

Some artists gained recognition and fame from these types of works, but many weren’t so fortunate. Although most of these artists toured Europe, The Middle East, and The Americas; typical concert-style venues and nightclubs weren’t the live platforms of choice. Instead, the Armenian-style banquet halls were and still are the favored venue for these artists. Similar to all other citizens of the world, the Armenian Diaspora would look forward to the weekends, because this is when they’d have the chance to see their favorite Armenian musicians perform in an intimate setting, where everyone would gather to eat, drink, and dance. The Armenian Banquet Hall was essential since most venues wouldn’t book Armenian artists, unless they were rented out.

During the period in which the majority of the tracks from this compilation were released, the Armenian diaspora paid no mind to them. Instead, they focused their attention toward “mainstream” Armenian and internationally acclaimed pop records of all sorts. Some knew about these records, but they initially thought it was too obscure for their liking. Some merely recall the artist’s names, while many haven’t heard of them at all. The majority of Armenians in Armenia weren’t aware of these works when they were originally released, due to the strict control of music in the Soviet Union, which may also be the reason why these records cannot be found in Armenia today. Although jazz was popular and promoted in the USSR, the tracks from this compilation were outlawed in Armenia at the time. Sure, there were a few underground groups that had formed in Soviet Armenia in the late seventies and gained somewhat of a cult following, and more popular records were smuggled in limited quantities, but ultimately, the Soviet authorities found this music style unconventional. The reason why jazz, classical, and some traditional folk music were popular in Soviet Armenia and the rest of the USSR was because the state had sanctioned and backed the artists to produce those sorts of records.

Growing up as an Armenian in Los Angeles, I listened to a few of these tracks and many of the artists but something in me wanted to dig a little deeper. Naturally, being a collector of records and an admirer for the sounds of the seventies and eighties, I began to meticulously dig through crates upon crates in a number of different countries to find these Armenian cuts. I thought to myself, “Well, if other nationalities and cultures have disco records, then surely we must.” This task proved to be difficult, as there aren’t that many out there. This very question pushed me to work on this compilation for three years, from 2016 until 2019. Ironically, a few of the tracks on this compilation were recorded in Los Angeles, but I had no luck finding them here.

Besides crate digging in LA, I found many of these tracks while digging in the Middle East and in a few countries in Europe. The process of collecting the tracks was the most challenging part, because the majority of these records were pressed in a limited quantity during the time of their release. However, this made finding them some of the most rewarding moments of my investigation. To find these records in person and to physically hold them in my hands after years of endless digging brought me so much joy. It allowed me to amplify sounds and stories that were forgotten and ultimately share them with the world. I hope collectors and contemporary DJs find this compilation enjoyable as it sheds light on a host of Armenian obscurities. The reintroduction of these tracks and these artists alongside their stories has been a goal of mine for a while. For me, it has become a story of survival through revival. Not only does it tell the story of a testing journey for the Armenian Diaspora through music, but it’s also packed with various musical ingredients, ranging from traditional sounds to an attractive and westernized approach to music production.

From the culmination of sounds of the near east and the west, to the struggle of finding a new home on the other side of the world, the Armenian Diaspora recorded powerful music -- some melancholic, but many jubilant. The Armenian people gathered together with the goal to survive, and all the while ended up thriving. They built new communities, respected their new neighbors, and loved to live. They adopted the customs of the new world and embraced them, yet never forgot their identity or their roots. The present state of Armenia may be small, but the Armenian nation as a whole remains large.

This record is dedicated to the victims of the Armenian Genocide and victims of all Genocides and systematic racism that have occured throughout history and continue to this day. The actions of ultra-nationalists of the past cannot be ignored, as their actions and crimes perpetuate to this day through their successors around the world. Stand up, speak up, and fight the good fight!


Written by Darone Sassounian for Terrestrial Funk.

Darone is a DJ, selector, and producer from Los Angeles. He runs the indie artist management and booking label, Rocky Hill. Sassounian focuses on bringing an array of sounds into the world - ranging from styles introduced to him at an early age, to sounds he sought after later on. Darone released his full length compilation; "Silk Road: Journey of the Armenian Diaspora (1971 - 1982)" via Terrestrial Funk on February 22, 2021.

Compiled by Darone Sassounian, who spent three years tracking down the records and artists through crate digging across LA, the Middle East and Europe; fulfilling a calling to lift his people’s voice, a people that have always faced the threat of erasure. The music was made a generation after the Armenian Genocide, a testament to perseverance. The seven tracks featured are incredibly inventive and unique in their interpretations of Western seventies sounds.

Musique sans frontières

One of the themes of our NHLF grant is Neighbours, what we share, what we learn from each other, how we do or do not get along.  One of the things we have constantly been exchanging with neighbours is music. It’s an art that doesn’t recognise borders, governments, political affiliations or wars.  It’s also an art which is part of our everyday life, accompanying us in our headphones, on the radio, at workplaces, during religious rituals, football chants or singalongs from balconies when quarantined for coronavirus.

I find this exchange and sharing of music fascinating and have woven together an eclectic mix of examples.  These songs and their various interpretations and covers are all united by Armenian connections.


Charles Aznavour: Stenka Razin’s song

image14.png

The first song is from Charles Aznavour, our much-loved and admired singer and lyricist and here is an interpretation of a famous Russian song about a Cossack hero – Stenka Razin. It’s fascinating to think about the geography of this cover – a French Armenian, with roots from Georgia and Turkey, singing about a Russian-Tatar ataman, who is about to marry a Persian Princess.  

Stenka (Stepan) Razin led an uprising against nobility and the tsar and is one of the most admired and enduring characters in Russian folklore. There are many songs and ballads about him, but this one – Volga-Volga (or simply, Stenka Razin’s song) must be the most popular but the darkest one. Lyrics are written by Dmitri Sadovnikov (Russian poet and ethonographer) in 1883 based on a folk melody.

It’s the fictional story of Stenka and his Cossacks sailing on the Volga river and Stenka’s drunk men whispering that their leader has lost his head since meeting a woman. Overhearing it, Stenka Razin angrily states that he will prove he cares for his people more, and throws the unfortunate princess into the water - and orders his shocked men to sing and dance.

Here is Aznavour’s emotional French version, and if you didn’t know the lyrics, you could easily mistake it for a tender love song. Interestingly, the first Russian narrative film is based on this song, made in 1908 and this video uses the footage from that film.

And you can listen to the original sung by the Russian Red Army Choir here and a popular Western adaptation – The Carnival is Over here.


Medz Bazar: Bobik Djur Mi Era | Yaro Jan

The band describes their music as: ‘On stage, Collectif Medz Bazar balances tempered instruments with music from modal traditions, including Middle-Eastern percussion and Parisian voices of various origins (Armenian, Turkish, and French-American), inspired by folk music from Asia Minor and Iran, Caucasian Rabiz and rhythms from Thrace, with touches of Venezuelan sounds, operette, hip-hop, jazz and bluegrass’’.

Whatever their own ethnic heritage, the band members learn the songs in the various languages and their enjoyment shows in the videos and in their music. Medz Bazar’s repertoire spans cultures in their arrangements of well-known folk songs but also with their own original compositions in various languages.  Some of these are satires and social critiques, some are just fun (see Kokorec below), others explorations of the different sides of love. None of these recognise boundaries and aspects of each are found in societies everywhere. The band has been together for many years now and played across the US, including South by Southwest Festival (SXSW) and Innovate Armenia, in Moscow, Yerevan and Gyumri, many times in Turkey, including Istanbul and Diyarbekir, of course Paris and….. London! 

The Armenian Institute has organised two sell-out concerts with this wonderful band and we hope to see them in London again.

Listen (and dance) to their energetic, fun interpretation of 2 Armenian folk songs: Bobik Djur Mi Era and Yaro Jan:

A great example of early Medz Bazar is their composition Kokoreç – Video shot in Paris, sung in Armenian and French – a hymn to a delicious tripe sandwich made in Istanbul.


The Beautified Project  I Have Two Homes (Sayat Nova Cover)

Martiros Saryan: Sayat-Nova

Martiros Saryan: Sayat-Nova

Sayat-Nova is the perfect example of a musician who transcended linguistic and national boundaries with his art.  A poet, musician and ashough whose songs are in Armenian, Georgian and Turkish, he was heavily influenced by Persian poetry and songwriting traditions.

One of his reworkings of a Georgian folk song was picked up by the Armenian bard Artur Meschyan in the early 2000s. Meschyan  wrote lyrics for the melody, staying faithful to Sayat-Nova’s original lyrical compositions. And here is a beautiful cover of ‘I Have Two Homes’ by London-based band with Iranian-Armenian roots, The Beautified Project.

The band’s frontman Andre Simonyan says: ‘’music is sound and sound knows no man-made borders. It can travel from one country to another without any interruption caused by man-made territorial limitations’’.


The Chorus of Leblebijis from Dickran Chukhajian’s 'Leblebiji Hor-Hor Agha' Operetta

Leblebiji Hor Hor Agha operetta troupe in 1970s

Leblebiji Hor Hor Agha operetta troupe in 1970s

Considered the first original Turkish operetta, this was written by an Armenian composer, Dikran Chukhajian, and based on the libretto by Takvor Nalian in Constantinople in 1875.  It’s a story of two couples in love, dressing up, kidnappings, amorous misunderstandings and crooked villains. The operetta has been translated and performed in many languages including Armenian, Greek, German etc – but retains its joyful Italian musical influences in every interpretation, like in this Turkish version. https://www.youtube.com/watch?v=WAA-XZHuEEk

The part of the angry Leblebijis (chickpea sellers) is one of the most entertaining choruses from the operetta, demanding that Hor-Hor Agha’s daughter be returned to her father and reminding everyone about their brave ancestors. http://www.museum.am/songs/74.html

Its Armenian version became even more popular after the release of the film ‘Karine’, based on ‘Hor-Hor Agha’. You can watch a snippet from the film here, and listen to this wonderful version:


By Tatevik Ayvazyan

Word Stories - բամ and փորոտալ

A few thoughts on the words բամ and փորոտալ 

I was led to think of the above two words in connection with the Church Feast of the Vardanank‘, the Vardanian Saints, which was celebrated only the other week. But rather than plunge headlong into the words themselves, I shall start with a rather fascinating excursus, if I may.

Screenshot 2021-02-16 at 11.44.59.png

Pietro Bianchini (1828-1905), characterised as «իտալացի կտրիճ երաժիշտ... Պ. Պետրոս Պիանքինի» by an anonymous Armenian writer (“an heroic Italian musician, Mr Peter Bianchini”), was a Venetian violinist, composer, conductor and teacher.

At present he is remembered, if at all, for his harmonised transcription of the chants of the Armenian Divine Liturgy, based on the singing of the Mekhitarist Fathers in San Lazzaro, on which he started working in 1855. Few know that Bianchini may well have been the very first to publish substantial excerpts from the repertory of Armenian sacred chants in Western staff notation. Yet I should now like to mention a completely different piece – one that most Armenians know, albeit without knowing that it was composed by Bianchini!

Generations of diasporan Armenian schoolchildren have learned to sing a celebrated song, without knowing that Bianchini was the composer: namely «Բա՜մ. փորոտան» – a setting of an excerpt from a poem by the Mekhitarist monk, botanist, historian and poet, and almost exact contemporary of Bianchini’s, namely Fr. Łewond Ališan (1820-1901), Երգ ու գնացք զօրացն հայոց ընդ Վահանայ Մամիկոնենոյ ի Շաւարշական դաշտին վրէժք (1850), which he published in San Lazzaro, Venice in 1850. It is the “song and march” of the rallying Armenian soldiers under Vahan Mamikonean, eager to avenge the defeat of Vardan Mamikonean of 451.

Screenshot 2021-02-16 at 11.45.09.png

As an aside, I might mention that my attention has been drawn to the fact that some rebellious pupils may have had recourse to fitting the song with alternative but similar-sounding satirical words, with a fair peppering of Turkish to boot – but I imagine that readers will not be interested in those (although comments will be welcome)! There were also innumerable, more legitimate musical arrangements made of the song – and so far I have had much fun collating and contrasting seven versions of it, and tracing out certain discernible trends and tendencies.

It would be no exaggeration to say that Bianchini’s setting has made Ališan’s poem famous, and was adopted by the people as a kind of informal national anthem. These two giants were almost exact contemporaries, and almost certainly knew each other well. And only a generation or so later, the song was recorded, twice, by the celebrated tenor singer (a friend and protegé of Komitas, and a soloist at La Scala in Milan and at the Paris Opera), Armenag Shah-Mouradian (1878-1939) – known as the “nightingale of Tarōn”.

I have placed both recordings on my YouTube channel, where they may be enjoyed by all. The first recording was made in Constantinople in 1914, when the singer was accompanied by none other than Archimandrite Komitas himself at the piano. The second recording was made in New York in May 1917, with orchestral accompaniment.

The Venetian composer, conductor and violinist, Pietro Bianchini (1828-1905) has a very substantial body of compositions, much of it still unpublished. He is...

The Venetian composer, conductor and violinist, Pietro Bianchini (1828-1905) has a very substantial body of compositions, much of it still unpublished. He is...

I am grateful to the Cairo-based Armenian musicologist, Haig Avakian, for his generosity in providing me with photographs of both discs. It is notable that in neither case is Bianchini named as the composer; and the later recording merely mentions it as a “National song”. Though misleading, this does indicate the status this piece had come to enjoy by now. No less interestingly, readers will notice that in both instances the song was mis-labelled as Բամբ որոտան (instead of the correct Բամ փորոտան), and indeed in the earlier recording it is clearly discernible that Shah-Mouradian even sings “Pamp vorodan” instead of “Pam porodan”!

But what exactly does «Բա՜մ. փորոտան» mean, and why was there a tendency to mis-transcribe those two words? Բամ is a somewhat onomatopoeic ձայնարկութիւն– an interjection or an exclamation. A good equivalent might be “Boom!”. But the problem arises with the second word. The verb փորոտալis relatively unknown, and therefore many have incorrectly assumed that the proper title is in fact Բամբորոտան – presumably loosely meaning “Deep[ly] they thunder!” – բամբ being Komitas’ favourite choice of Armenian word for “bass” – the lowest male singing voice. But in fact, there truly does exist a verb փորոտալ, and it means “to roar, to blow” – with a definite suggestion that the sound is deep and mighty – rather as the roar of a lion. The word փորis relevant here: it means belly (or abdomen – the usual Armenian equivalent for the more scientific word being որովայն). One thinks of advice given to singers and brass players – the best of whom always seem to produce the breath from the diaphragm, producing a fuller and more rounded sound and better control. Less agreeably, our verb is also related to the word փորոտիք, which many will know from various Armenian translations of Scripture: in the Acts of the Apostles (1:18) we read that Judas, having betrayed his master, died and his entrails – փորոտիք – fell out. So much, then, for the etymology of փորոտալ. All in all, we may safely conclude that «Բա՜մ. փորոտան» means something along the lines of“ ‘Boom!’ they roar”. Admittedly it does not seem to have quite the same glorious ring to it in English as it does in the Armenian original! But I hope you might now enjoy the song, knowing what it was genuinely called, and what it is about!

By Haig Utidjian

Music studios at AI

“AI Studio" was an exciting series of zoom meetings and workshops funded by the Arts Council England. The Music series are Lecture-Demonstrations on different aspects of Armenian music each led by experts in their field, including sacred, classical, contemporary, folk and popular music.

Music with Aram and Virginia Kerovpyan

A musical mode is a particular sound environment. It creates a specific auditory sensation resulting in a “state of being”, an ethos. Whereas modern Western music has only the major and minor "modes ", numerous musical modes exist in a very large region from the Balkans to India. Modes are much more than just a series of pitches but rather can be described as " a sound environment ".

In Armenian church music, these different sound environments are organized within a system called the Oktoechos, the Eight-Mode system, which is especially important as a system for organizing the cyclic liturgical calendar, on which the musical aspect largely depends. The Armenian Eight-Mode system operates especially within the sharagan songs, a large repertoire of more than 1300 songs, almost all based on a variation system of melodic patterns according to the text.

During our meeting, we will listen to some examples and try to feel the sound environment created by each mode of the Oktoechos.

Music with Arik Grigoryan

Arik Grigoryan will discuss the current revival of Armenian folk music and its contemporary interpretations. While many songs and melodies have been discovered and published by folklorists – just like archaeologists explore and discover old things, many of them are neglected. Arik Grigoryan will explain why and how they need to be rediscovered — and more importantly, recreated — in order to come back to life. His lecture will be accompanied by his own performances.

Arik is a founder of 3 bands, The Bambir, where he plays flute and is the songwriter; TmbaTa, which was created at Tumo Center for Creative Technologies for educational purposes; and Vishup, which explores folk and spiritual music.

The Odyssey of the Armenian Badarak Chants

Haig Utidjian traces the development of the melodies of the badarak from early manuscript sources using the Armenian “khaz” notation, to the nineteenth century, when melodies sung in Venice, India and Constantinople were written using a new Armenian system and Western notation. Adaptation by Bianchini, Komitas, Ekmalian and others followed. In this lecture they will be discussed, with the help of musical demonstrations, culminating in the orchestral concert suite arranged by Zareh Sahakiants – representing the distillation of almost one thousand years of creation, transmission and interpretation.

Musical Nationalism – Levon Chilingirian

Levon Chilingirian, leader of the world-renowned Chilingirian Quartet, is Professor of Violin and Chamber Music Artist in Residence at the Royal Academy of Music (London) and at the Guildhall School of Music and Drama (London).

Beginning with Armen Tigranian’s Anoush Opera, Levon Chilingirian explores the uses of traditional folk music in European classical forms of composition. These composers were active in the creation of modern national identities across Europe, combining the instrumentation and structures of a shared European tradition with local folk song and dance. Excerpts from composers as diverse as Khachaturian, Babajanyan, Enescu, Greig, Dvorak, Vaughan Williams, Bartok and Mansurian will be played and discussed, looking at their varied approaches.